Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Micronesia and from Lyon.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1967 to 1971.
I'm losing my edge.
To all the kids in Columbus and Jakarta.
I'm losing my edge to the art-school Milan kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the güiro sounds with much patience.
I was there when Captain Beefheart started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Jerry Gold Smith to the dance kids.
I played it at Trash.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Eden Ahbez. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every Joensuu 1685 record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
DNA,
Mo-Dettes,
Das Ding,
Urselle,
Yusef Lateef,
The Standells,
Aural Exciters,
Rhythm & Sound,
Glambeats Corp.,
Echospace,
Blake Baxter,
Yazoo,
48th St. Collective,
Radiopuhelimet,
X-101,
The Real Kids,
Delon & Dalcan,
James Chance & The Contortions,
New Order,
The Gap Band,
The Associates,
Yaz,
The Chocolate Watch Band,
James White and The Blacks,
Barclay James Harvest,
The Mighty Diamonds,
The Young Rascals,
Black Bananas,
Section 25,
Bobbi Humphrey,
Louis and Bebe Barron,
The Five Americans,
Lakeside,
Magma,
Bill Near,
Mr. Review,
The Techniques,
Roxy Music,
David Axelrod,
Schoolly D,
Faust,
Saccharine Trust,
Bush Tetras,
The Cure,
Agent Orange,
MDC,
Flipper,
Lee Hazlewood,
JFA,
Matthew Halsall,
Television Personalities,
Be Bop Deluxe,
Joe Smooth,
Mars,
Pet Shop Boys,
Nas,
the Association,
Vladislav Delay,
Derrick May,
Minnie Riperton,
Popol Vuh,
Fear,
Colin Newman,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.